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All Journal Journal Sampurasun : Interdisciplinary Studies for Cultural Heritage Budapest International Research and Critics Institute-Journal (BIRCI-Journal): Humanities and Social Sciences International Journal of English Linguistics, Literature, and Education (IJELLE)
Deden Novan Setiawan Nugraha
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Religion Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Social Sciences

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Grammatical Cohesive Devices in “The Secret” by Rhonda Byrne Muhajir Hilmi Fathani; Deden Novan Setiawan Nugraha
Budapest International Research and Critics Institute-Journal (BIRCI-Journal) Vol 5, No 2 (2022): Budapest International Research and Critics Institute May
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v5i2.5234

Abstract

The research aimed to analyze the types and meaning of grammatical cohesive devices used in the book “The Secret” by Rhonda Byrne. This research used the qualitative descriptive method with theory from Sukardi (2003). In analyzing the data, this analysis used the theory of discourse analysis from Halliday and Hasan (1976), and Gerot and Wignell (1994). The result of this research shows that there are 50 data of grammatical cohesive devices found in the book “The Secret” including reference with 18 data (36%), substitution with 4 data (8%), conjunction with 27 data (56%), and ellipsis with 1 data (2%). Based on the analysis, each grammatical cohesive device used in the book “The Secret” by Rhonda Byrne has a different meaning or explanation according to the type of grammatical cohesive device used. Conjunction is used to link the sentences together. Reference is used to avoid repetition in relation to meanings.  Substitution is used to ignore the repetition of words. Ellipsis is used to omit unnecessary words.
SETTING OF DEVELOPED COUNTRY IN DRAMA SCRIPT “NYAYIAN RIMBAYANA” (A Study of Roland Barthes’ Semiotics with Myth of Liberal Capitalism) DEDEN NOVAN SETIAWAN NUGRAHA
SAMPURASUN Vol 3 No 1 (2017): Sampurasun Vol. 3 No. 1 - 2017
Publisher : Lembaga Penelitian Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (640.799 KB) | DOI: 10.23969/sampurasun.v3i1.250

Abstract

The analysis of this research basically concerns issue of setting of developed country which is depicted through the sign systems found in the drama script “Nyayian Rimbayana”. Principally, the research is a descriptive qualitative research with Roland Barthes’s semiotics as the main tool to examine the data. The sign systems detected are interpreted in two orders of significations (language level and myth level). Observed based on the myth of liberal capitalism, the setting of developed country illustrated through the sign systems are specifically in principles of modernity of infrastructure (infrastructure appearance); diversity of social class, capital force (social class); mercantilism, non-intervention of government, policies of encouragement, the disregard of domestic policies, and non-inward-looking development policies (leader role); and market force, free market system, openness of country’s economies, profit motive, private ownership property, and no legal limit on the accumulation of property (industrial prototype). Key words: Drama, semiotics, developed country, liberal capitalism.
THE MODE OF ‘MUST’ IN THE MODALITY OF NECESSITY IN ENGLISH AND ITS EQUIVALENTS IN INDONESIAN Deden Novan Setiawan Nugraha; Cece Sobarna; Sutiono Mahdi; Nani Darmayanti
SAMPURASUN Vol 4 No 2 (2018): Sampurasun Vol. 4 No. 2 - 2018
Publisher : Lembaga Penelitian Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (660.636 KB) | DOI: 10.23969/sampurasun.v4i02.856

Abstract

The analysis of this research basically concern issue of the cultural in the context of the mode of ‘must’ in the modality of necessity in English and its equivalents in Indonesia. The method used in this research is descriptive research method. The data taken in the form of written language manner with consideration that written manner shows more consistent characteristics in usage of the sentence structure and word choice as well. The data is taken from novels in English and also in the form of its translation in Indonesian. Syntactically, the result of the analysis shows thatthe mode of ‘must’ is actualized in modal forms (modals/modal auxiliaries) refers to ‘the rules for modal verbs’. Modal patterns, in general, used M + Vinf, where modals are always followed by infinitives or main verbs. Semantically, the mode of must is the expression of logical necessity and belongs to an epistemic modality that has a subjective meaning of certainty. The disclosure of epistemic modalities is indicated by the arising of the speaker's certainty involving his knowledge or his beliefs. The equivalent mode must in Indonesian becomes 'harus' .
ILLOCUTIONARY ACTS IN THE MOVIE MIDWAY (2019): A CULTURAL AND PRAGMATIC PERSPECTIVE Reinaldy Christian Panduputra; Deden Novan Setiawan Nugraha
SAMPURASUN Vol 10 No 2 (2024): Sampurasun Vol. 10 No. 2 - 2024
Publisher : Lembaga Penelitian Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/sampurasun.v10i2.14952

Abstract

This study observes the illocutionary acts in the film "Midway" (2019) through the point of view of pragmatics and cultural context. By applying Austin’s and Leech’s speech act theory, the research identifies and categorizes various illocutionary acts and their functions performed by characters throughout the film. This research uses qualitative method in analyzing the movie. The analysis highlights how these acts contribute to the narrative and character development. In addition, the study examines the cultural and historical settings depicted in the film, considering how they influence and shape the illocutionary acts. This dual approach uncovers the interplay between language, culture, and context, providing a deeper understanding of communication dynamics in "Midway." With the types of illocutionary acts proposed by Austin, based on 8 data found, 3 data are Behabitive (37.5%), 1 data is Commissive (12.5%), 4 data are Exercitive (50%), 0 data is Verdictive (0%), and 0 data is Expositive (0%). With the functions of illocutionary acts proposed by Leech, based on 8 data found, 1 data is collaborative (12.5%), 4 data are convivial (50%), 3 data are competitive (37.5%), and 0 data is conflictive (0%). The research also brings 8 data contain practice (100%), 8 data contain perspective (100%), and 0 data contains product (0%).
Figurative Language in “Cross Road” Album by Bon Jovi: Semantics Analysis Ismidiani, Adinda; Deden Novan Setiawan Nugraha
International Journal of English Linguistics, Literature, and Education (IJELLE) Vol. 7 No. 1 (2025): June
Publisher : Universitas Veteran Bangun Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32585/ijelle.v7i1.6088

Abstract

This journal examines the important relationship between culture and language, emphasizing the role of both in human communication. Language serves as the primary means of expressing emotions and sharing information, while culture shapes the way we use language in complex ways. This research focuses on figurative language in song lyrics, particularly from Bon Jovi's “Cross Road” album, to uncover deeper meanings and evoke emotions. This research aims to analyze the types of figurative language present in the songs and the meaning conveyed through the lyrics. Using a qualitative method, this study collected and evaluated data based on Perrine's classification of figurative language, which includes twelve types; however, this study focuses on six types: simile, metaphor, personification, symbol, hyperbole, and irony. The findings of this study reveal 79 instances of figurative language throughout the album, with the following distribution: personification (12 items or 15%), metaphor (19 items or 24%), hyperbole (14 items or 17%), simile (7 items or 8%), irony (9 items or 11%), and symbol (18 items or 22%). It can be said that the dominant type of figurative language in this album is metaphor.
Co-Authors Cece Sobarna Ismidiani, Adinda Muhajir Hilmi Fathani Nani Darmayanti Reinaldy Christian Panduputra Sutiono Mahdi